Music is an art form. Like painting, theater, poetry, it is the artistic reflection of life. Music serves the mutual understanding of people, awakens and maintains in them a sense of kinship, embodies social ideals, helps everyone to find a meaning in life.
Playing musical instruments enriches people’s impressions, develops their creative abilities, and also requires patience, perseverance, the need to develop technical and high-performance skills. Therefore, playing musical instruments develops willpower and discipline. The desire to achieve the goal helps to form skills of active perception of music, enriches the creative experience.
What really gives a person creativity? It is through creativity that a person is filled with energy, strength, inner resource. This is where she gains most of the energy. Why is man filled with the best feelings of his creation? Because this act relaxes the physical body, the person enters the alpha state of the brain [the alpha rhythm of the bioelectric activity of the brain-the reflection of relaxation in a state of conscious wakefulness, as opposed to a state of sleep], which we miss so much in our time due to stress. Any creative process relieves anxiety, even depression. In addition, when included in the creative stream, a person receives information from the database of the Universe. In creating, a person actively develops the right hemisphere, which means intuitive thinking. From the point of view of the higher laws of the universe, creativity has a special status – creativity belongs to the laws of the universe, development. This is the most important point. At the moment of creation, man becomes the creator of the Universe. Any product that has come out of the hands of man is the expansion of the Universe, and the diversity of the Cosmos.
One of the most urgent and “big” problems facing modern society is the threat of spiritual impoverishment of the individual, the danger of loss of moral landmarks. Therefore, in the upbringing of the younger generation, it is necessary to turn to the vital problems of modern society, to ensure moral education, to cope with the absence of spirituality and consumerism.
The music school at the present stage is designed to preserve the traditions of general musical development, to solve the problem of expanding its impact, teaching almost everyone who wants to. Playing as a team is the possibility of such an impact. In the team, the action of one of the most important socio-psychological functions of musical art – communication manifests itself with great force. The role of communication in the team is increasing at the level of spiritual and personal relationships. Socio-personal development of students is the process of forming a wide range of social and personal qualities, such as: self-esteem, self-confidence, artistry, creative individuality and so on.
The most important quality that reflects the social development of students is the ability to work in a team, mutual respect, the desire for a common activity. Collective music lessons contribute to the qualitative improvement of musical thought processes. Musical thinking improves markedly, becomes more lively, lively, exacerbated, tenacious. Collaborative music, regardless of the level of the child’s ability, contributes to psychological relaxation, freedom, a friendly atmosphere.
The members of the ensemble must have a “sense of elbow room”, be able to take a leadership role if necessary during the performance to “save the situation on stage”. Each of the ensembles must be stress-resistant and ready to perform in public. The game as a whole is important as a way to expand the horizons of the repertoire or to accumulate musical-theoretical and musical-historical information. These courses contribute to the qualitative improvement of musical cognition processes. The development of the student’s musical intelligence receives only if it is based on the ability to actively learn, independently search for the necessary knowledge and skills. Children are pleased with the music as a whole, where they gain confidence in their abilities, faith in themselves. Creative communication as a whole creates a special mood, develops interest and relationship with each other, strengthens emotional ties between partners. The emotionality of communication, feelings and experiences are those psychological characteristics that saturate communication and are in themselves a value for the participants. Children learn to overcome all conflicts in order to achieve a common goal. They learn to communicate, come to the need to hear and listen. And this is the development of intuition and imagination, auditory control and high-performance self-esteem. In the process of joint creation, special relationships are established, built on the understanding of creative responsibilities, overcoming the consequences of individualism and selfishness, changing self-esteem and aspiration for the highest artistic results in musical performance. Cooperative playing of various musical instruments was common at all times. Since ancient times, literature and fine arts, historical chronicles and memoirs have kept for us a lot of interesting information about the musical ensembles of antiquity. The orchestra in the modern sense of the word appeared only when instrumental music ceased to be only an indispensable participant in religious ceremonies and joyful holidays, when composers began to write instrumental works intended not for the occasion, but for a special performance in front of the audience. This is due to the birth of secular instrumental music, with the emergence of new musical genres: Opera, ballet and Oratorio, and later symphony, overture and concert. This boundary, from which we can consider the beginning of the history of the orchestra, was the end of the sixteenth century. The history of the orchestra was composed of many elements. The forces that drive it are found in the musical art itself, and at the same time in the social and historical conditions of each era. The history of the orchestra is above all the development of musical thought itself, of the musical language. After all, orchestral timbres with melody, harmony, rhythm are one of the ways to express the composer’s ideas and moods. The music itself, its content and its intention, always dictates the choice of an orchestral presentation, certain timbres or the composition of the orchestra. On the other hand, the development of musical instruments – the emergence of new ones and the improvement of old ones – in turn advances musical thinking.
At the moment, the compositions of the symphony, wind and folk orchestras have been regularly formed. A few words to say about the jazz orchestra. The jazz orchestra is one of the most interesting and peculiar phenomena of modern music. Born later than all other orchestras, he began to influence other forms of music – chamber music, symphonic music, fanfare music. Jazz uses many of the instruments of the symphony orchestra, but has a radically different quality from all other forms of orchestral music. The main quality that distinguishes jazz from European music is the great role of rhythm (much greater than in the military march or waltz). In this regard, in any jazz orchestra there is a special group of instruments – the rhythm section. The jazz orchestra has another feature: jazz improvisation leads to the wave of its composition. However, there are several types of jazz orchestras: Dixieland chamber ensemble, small jazz orchestra – small composition Big Band, large jazz orchestra without strings-Big Band, large jazz orchestra with strings (not symphonic type) – Extended big Band, symphony orchestra.
The realities of the modern music school do not always make it possible to implement pre-professional music training programs in the traditional compositions of the aforementioned orchestras. At the Children’s Music School №2 in Krasnoyarsk, a saxophone orchestra was created and successfully exists. It is an orchestra of homogeneous wind instruments with a rhythm section composed of a drum kit, a bass guitar and a piano.
Actually, the idea of creating a saxophone orchestra arose in connection with the students playing in various ensembles, both homogeneous and mixed. The Standard Saxophone Quartet – baritone, tenor, alto and soprano – is a unique ensemble that combines the power of a brass band and the flexibility of a string quartet.
The score of the saxophone orchestra is based on the quartet score. The main voices are soprano, 1 alto, tenor and baritone. They are performed by older students, they are the leaders, then the chord is complemented by parts 2,3,4,5 and 6 violas.
While playing in the orchestra, children gain the following skills:
social skills and discipline. Teamwork teaches children responsibility for the overall outcome. The child realizes the importance of his part, learns to listen to others and interact with the conductor and colleagues.;
intellectual development. Music activates the brain more effectively than many other activities. Playing in an orchestra develops mathematical, spatial and creative thinking;
musical abilities. Children learn to distinguish between timbres, pitch, feel the rhythm and tempo of a piece.;
psychoemotional state. Working together gives you a sense of success and joy, especially during public speaking, which significantly increases self-confidence.;
physical development. Coordination of movements and fine motor skills are improved, as the game requires precise body control to extract sound.
Working with the orchestra includes rehearsals that take place on the basis of the educational institution, usually 2 times a week according to the FGT program for music schools and concerts planned by the head of the collective.
Rehearsal is the foundation of successful orchestral practice. Each rehearsal begins with acting out and tuning up the sound. The orchestra plays on the B–major scale in one octave in quarter durations at a moderate tempo. The orchestra is not tuned before the performance. The purpose of the exercise is for each musician to adjust the structure of the instrument on their own. A scale corresponding to the formation is played on each instrument. Alto sax, Baritone sax in Es – G – dur – from the “salt” of the first octave to the “salt” of the second. Tenor sax, Soprano sax in B – C – dur, (from “to” the first octave to “to” the second, or an octave higher. First, the scale is played in unison, then in 2, 3 and 4 voices. The voices are built according to the canon – each voice begins to sound 2 notes later than the previous one. The exercise is very simple, it does not require musical material, but it builds up not only unison, but also thirds, triads and seventh chords.
The next step in the work is a concert. For the orchestra, the concert is the culmination and public result of a long creative process. This is the moment when hundreds of hours of individual lessons and group rehearsals turn into a single artistic statement.
At concert venues, it is better to place the orchestra in tiers, similar to a choir. The upper tier consists of a drum kit and a bass guitar, the second tier consists of leading voices – soprano, tenor, baritone, 1,2 and 3 violas. The lower tier is 4.5 and 6 violas. If it is not possible to place the band in three tiers, then there should be a podium for the rhythm group for the convenience of the orchestra and the conductor. An example of orchestra seating is shown in Figure 2.
Unlike solo performance, the student is faced with the tasks of an orchestral musician. First of all, it is necessary to be able to transform individual skills into a single, harmonious sound of the collective under the guidance of the conductor.
Each orchestra member must:
technically perform the parts. Master your instrument and accurately reproduce musical text;
synchronize and be in the ensemble. Not only to play your role, but also to constantly relate it to the overall sound, maintaining a uniform tempo, rhythm and dynamic balance.;
interact with the conductor. Musicians are required to be sensitive to the conductor’s gestures and facial expressions, which determine the nature of the performance, the nuances of sound and the moments of introduction.;
work on rehearsals. Regular participation in rehearsals to work out complex fragments and achieve perfect interaction within the team.;
listen and control. The artist must hear not only himself, but also other participants in order to adjust intonation and sound strength in time.;
observe orchestral discipline. This includes preparing the instruments in a timely manner, observing the seating on stage, and concentrating throughout the performance.
The work of an orchestra in an ensemble with a soloist is a special art, where the main task is to create an ideal sound space for the interpretation of the idea of the work.
The following are the key tasks that musicians face:
to perform an accompanying role: the orchestra must sound transparent enough so as not to “drown out” the soloist, especially with piano dynamics, but at the same time not to lose energy.;
Be flexible and follow the soloist: musicians must be sensitive to tempo changes and rubato (free deceleration or acceleration) of the soloist. You need to literally “breathe” with him.;
to pick up the intonation of the soloist, entering into dialogue and roll calls while maintaining the unity of style, as music is often based on the interaction of the orchestra and the soloist.;
Create a textured background: the orchestra creates an “atmosphere” against which the soloist’s part unfolds.;
keep an eye on the accuracy of the introductions: at the moments when the soloist completes a cadence or passage, the orchestra must join perfectly on time, which requires extreme concentration on the conductor’s gestures.
When performed together, the orchestra turns into a single sensitive organism, which, emphasizing the uniqueness of the soloist or solo instrument, while remaining an equal participant in the musical dialogue.
An exemplary artistic group is the Julia Baranova JAZZ Orchestra of the Children’s Music School No. 2 in Krasnoyarsk. The unique team has its own unique style, enjoys well-deserved popularity of the audience. The Saxophone Orchestra is a regular participant in various jazz festivals, city and regional creative events, All–Russian festivals and projects of the Valery Khalilov Brass Society.
It was established in 2014 on the basis of MBU DO DMSH No. 2 in Krasnoyarsk. The orchestra’s artists are students and graduates of the saxophone class taught by Yulia Vasilyevna Baranova.
During its existence, the band became a laureate and winner of the Grand Prix of city, regional and International competitions, winner of the 1st degree of the International Competition “Jazz on Baikal” under the patronage of the People’s Artist of Russia I. Butman. Winner of the 1st degree of the All-Russian festival-competition “Triumph of Jazz” in Moscow. As a result of this competition, the orchestra was honored to play in the Svetlanovsky Hall of the International House of Music not only as part of the winners’ combined orchestra, but also as a solo act in the Gala concert program.
The saxophone orchestra participates in the jazz festivals “EniJAZZ”, “At the Marvelous Mountains”, “Jazz on Baikal”, “On the wings of Jazz”, “Chita Jazz”. In September 2017, at the invitation of the Oleg Lundstrem Transbaikal Philharmonic, the orchestra gave a solo concert in Chita as part of the Chita Jazz Festival. In March 2018, at the invitation of the head and chief conductor of the R.D. Oleksiuk Brass Orchestra, a solo concert of the Julia Baranova JAZZ Orchestra was held in the city of Istra, Moscow region. In 2019, as part of the International Competition “On the Wings of Jazz”, a concert of the saxophone orchestra was held at the Sibirsky Concert Hall, Novosibirsk.
The saxophone Orchestra participates in concert events in Krasnoyarsk and the Krasnoyarsk Territory. These are the TV broadcasts of the Afontovo, Yenisei, and TVK channels, the programs of the Maestro Invites Opera and Ballet Theater, City Day, In the Center of the World, and others. In 2017, as part of the Krasnoyarsk Main Department of Culture’s “Days of the Saxophone in Krasnoyarsk” project, the Saxophone Orchestra, together with renowned Israeli jazz saxophonist Robert Anchipolovsky, performed on the stage of the Small Hall of the Krasnoyarsk Regional Philharmonic. In December 2019, the project continued its work – a solo concert of the orchestra took place with the participation of Polish saxophonist, Professor of the Karol Lipinski Academy of Music in Wroclaw, Richard Zholedzhievsky. In addition to the concerts, a series of master classes from master saxophonists were held for students of children’s music schools in Krasnoyarsk and the Krasnoyarsk Territory.
During the difficult period of restrictive measures related to the spread of covid-19, the orchestra participated in competitions and festivals of brass bands and big bands in online format. These are the International competitions “In the whirlwind of the Veles Circle”, “My native country is Wide”, the final of the Planet of Talents competition, the International Festival of Children’s Orchestras and Big Bands in the Polish city of Lobez, “Triumph of Jazz” under the patronage of People’s Artist of the Russian Federation Igor Butman, etc. In 2020 The Yulia Baranova JAZZ Orchestra, along with professional orchestras from Magadan, Samara, Belgorod Region and others, took part in the All–Russian project of 8 brass bands of Russia “Symbol of Victory”. According to experts of the Valery Khalilov Spiritual Society, the Symbol of Victory project in 8 cities was recognized as the best of its kind (https://www.youtube.com/watch?v=r6ZvjmaKQ2I ).
In August 2021, the saxophone orchestra became a participant in the IV All-Russian Wind Art Festival “Silver Pipes of the Black Sea Region”. 11 of the best brass bands of our country gathered in the famous Artek for joint creativity, exchange of experience, and new acquaintances. The orchestra’s artists took part in master classes from leading brass society professionals – Andrey Balin (Odintsovo, Variety and Symphony Concert Orchestra), Yuri Merkulov (Belgorod, Concert Brass Orchestra of the Belgorod Philharmonic), Evgeny Nikitin (Moscow, Central Kremlin Military Orchestra). During the shift in Artek, a solo concert of our team and two concerts of the combined orchestra took place at the Artek Arena venue.
In September 2021, the saxophone orchestra took part in the project of the V. Khalilov Wind Society “Baikal Wind Assemblies” and became a first degree laureate. As part of the festival-competition, the saxophone orchestra performed an hour-long concert on Irkutsk radio “Chanson”. June 2022 was marked by the participation of the saxophone orchestra in the project of the Valery Khalilov brass society “Far Eastern Fanfares”. The orchestra entered the top 10 best children’s orchestras in the country and became a laureate of the Petrovsky Musical Assemblies Festival. Yulia Baranova’s JAZZ Orchestra took part in the celebration of Vladivostok City Day and became a laureate of the Far Eastern Fanfare Brass Band Festival. In June 2023. Yulia Baranova’s JAZZ Orchestra became the 1st degree winner of the All–Russian Youth Brass Band Festival “Country with You!” in Kyzyl. The festival program included an orchestra performance with Sofia Kara-Ool, People’s Artist of the Republic of Tyva. In September 2023, the saxophone Orchestra again took part in the traditional Baikal Wind Assemblies Festival in Moscow. Irkutsk, where he not only became a 1st degree laureate, but was also awarded the right to play a solo concert within the framework of the festival, as well as take part in the final gala concert on the central city square of Irkutsk with a solo number of the program.
The head of the team is Yulia V. Baranova, Honored Worker of Culture of the Krasnoyarsk Territory, winner of the Krasnoyarsk Territory Governor’s Award “For personal Contribution to the development of Culture of the Krasnoyarsk Territory”, winner of the Intelligence and Culture Association Award, winner of the city competition for a special professional award in the field of culture in Krasnoyarsk “The best employee of a municipal educational institution of additional Education” 2021, teacher of the highest category of saxophone class at the Secondary School No. 2 in Krasnoyarsk.
An unconventional approach to choosing the instrumental composition and repertoire of children’s orchestra groups opens up new horizons for the development of children’s musical culture. It promotes the formation of creative thinking and a creative approach to music making among young musicians. Such orchestral groups become more attractive, meet the interests of modern society, and also provide an opportunity for creative self-expression and the development of the individuality of each participant.
The creation and successful functioning of the saxophone orchestra at the Children’s Music School No. 2 in Krasnoyarsk is a vivid example of how non-standard approaches to the organization of the orchestral process can lead to significant results. Such a group not only expands the repertoire of the school, but also makes music education more attractive and accessible to children, allowing them to unleash their creative potential to the fullest.
The experience of organizing a pop and jazz saxophone orchestra shows that even with limited resources and a specific set of instruments, it is possible to achieve a high artistic level and achieve recognition. The key success factors are the professionalism of the teachers, an individual approach to each student, a competent selection of repertoire and original arrangements that take into account the characteristics of the instruments.
Thus, the study of orchestral music making in the context of children’s brass bands with a non-standard composition, similar to a saxophone orchestra, is an urgent and promising area of musical and pedagogical activity. This direction contributes not only to the development of children’s musical abilities, but also to their personal growth, the formation of communication skills and socialization.
In conclusion, it should be emphasized that children’s orchestras, even with non-standard instrumental compositions, play an invaluable role in music education. They provide a unique opportunity for collective creativity, contribute to the disclosure of each child’s individual abilities and form in them a sense of responsibility, discipline and love for music, enriching their inner world and preparing them for further mastery of art.
List of sources used:
1) Anisimov B. I. A practical guide to instrumentation for a brass band. 2nd ed. — L.: Music, 1979.
2) Voskresensky S. I., Kiyanov B. P. Modern pop ensembles. — L., Moscow: Soviet composer, 1975.
3) Gubarev I., Brass band, Moscow, 1963; Matveev V., Russian military orchestra, M.L., 1965.
4) Zudin N., Compositions of military orchestras and ways of their improvement, M., 1965.
5) Kazimir P. N., The basics of the rehearsal process. Working on intonation in a brass band. Krasnoyarsk, 2013.
Links to the video.
https://www.youtube.com/watch?v=0SvMwDcCDEQ
https://www.youtube.com/watch?v=n79UUYOhLD4
Baranova Julia Vasilievna,
Municipal budgetary institution of additional education “Children’s music school n° 2”, teacher.
E – mail: baranova.sax@mail.ru
the city of Krasnoyarsk.
